We are excited to bring your our latest Negative Supply Spotlight featuring linusandhiscamera!

Known as LINUSANDHISCAMERA. He’s a conceptual film photographer based in Raleigh, NC. He opened linusandhisfilmlab in response to COVID-19 - which halted all of his client work. But after a couple months of working in the Lab he decided to make it his full time thing, right along with creating youtube videos on film photography and working on more more conceptual photographs. Check out our interview with him below!

Q: How did you first discover your passion for photography?

“My passion for photography started in 2015 after I broke my leg doing gymnastics, I had be doing gymnastic and participating in gymnastic for my entire childhood. I was actually USG certified and taught for a quite while too.  When I broke my leg, it severed all of my nerve endings in my right leg below the knee. So I don’t really my right leg much any more, which is kinda crazy. I got my first camera is was a Canon Rebel T6i around 2015-2016. I started shooting around then. I made a bunch of friend, and I septs shooting. That’s how I found my passion, when my last passion ended.”

Q: What do you enjoy most about shooting film?

 “It’s exactly what I enjoy about shooting digital, just taking photos. And creating conceptual work. That’s definitely my driving force for photography, creating these scenes that really take you to another period in time or world. That’s what I enjoy most, creating still art. I don’t shoot as much conceptual work as I’d to these days but that  what I enjoy most. Creating these scenes, building this sets and executing the idea, especially on film, that part of it. Only having ten shots per roll and the limitations of film is what I really enjoy. I get to be competitive with myself.”

Q: What are some of your favorite film stock?

“This is easy: Lomography 400 & 800 and Portra 400 & 800. I’m color negative snob. I’m not really in slide film and I’m not really into black and white. But those four film stocks are 100% my favorite and they all push wonderfully They are just great stocks, they’re gorgeous”

Q: How has our Negative Supply tools helped your workflow?

“This is great questions because I think I’m one of the few people using Negative Supply tools for a film lab. They have helped me greatly. Prior to them I was scanning medium format orders on a flat bed, which was insanely, painstakingly slow. But Negative Supply Film Carrier 120’s are fast, efficient and sharp. I’m really excited to see what a future set up looks like and how it’s going to come into play with these big labs.”

We’d like to thank linusandhiscamera for allowing us to feature him and his fantastic work!! Make sure to follow him on his instagram: @linusandhiscamera. If you’re interested in being featured on our blog, please send us an email via contact@negativesupply.co We can’t wait to see and share work from more of the Negative Supply community! Click the links below to learn more about the tools Linus used to scan his images.

Welcome back to another Negative Supply Spotlight! We take the opportunity at least once a month to showcase the work and thoughts of photographers using Negative Supply film scanning tools, and this is something that brings us great joy. We exist as an organization that not only creates tools to improve the workflows of film photographers everywhere, but also as one that celebrates and amplifies the photographs and lens based art of photographers from around the world. This time we’re featuring Daniel McDonald from CineStill in Los Angeles, CA!

 Introduce yourself to the Negative Supply community and give a brief biography! 

“Hey there! My name is Daniel McDonald. I’m a South African Born, Australian raised, and Los Angeles based creative. I currently work at CineStill, doing a variety of things, but mostly handle 35mm production, social media, and office-plant caretaking.”

Hollywood Reservoir. Kodak E100. Processed with Cinestill CS6 kit, D9 first developer. Scanned with NS 35mm set up.
Glowing reeds. Kodak E100. Processed with Cinestill CS6 kit, D9 first developer. Scanned with NS 35mm set up.

Q: How did you first discover your passion for photography and when did you start making photos with film?

“I kind of fell into it by accident actually. I moved to LA to pursue acting, as most people that move to LA do. I ended up connecting with Brandon and Brian Wright, and eventually started to help them out with a little side project they were working on at the time. Eventually that little side project got a lot bigger and I found myself in a darkroom most days of the week, playing with film. I distinctly remember holding a piece of 35mm film in my hands, looking at it, and being absolutely amazed by what film actually is. It’s mind-blowing really, when you think about it. When you really look into how technologically advanced it is and how it does what it does. It’s basically magic, clearly. So, I bought a camera, a Nikon FG, and just went for it. I’ve always loved storytelling of all kinds, and photography is a facet of that for me - so it just grew from there.”

Motorcycle in the desert: Cinestill 800T (possibly expired). Processed at home with CineStill Cs41. Scanned with Negative Supply 35mm set up.

Q: What do you enjoy most about shooting film?

“There are a lot of reasons why I think film is an excellent creative tool. I most enjoy the confidence that eventually grows when you trust your own judgment about a shot, since you don’t have the instant feedback. It’s a great feeling when a shot turns out exactly how you imagined it. There’s also something to be said about getting totally humbled when it doesn’t turn out, and taking that opportunity to grow creatively. I enjoy that a roll of film is finite, so you tend to pause a little bit more and really take in the moment to find what you really want to capture. Also, I just think film looks rad.”

Phone boxes. Cinestill 50D, shot at 200ISO and push processed. Cinestill Cs41 kit. Scanned with NS 35mm set up. Reflective Cityscape DTLA. Cinestill 50D, shot at 200ISO and push processed.
Cinestill Cs41 kit. Scanned with NS 35mm set up.

Desert flowers. Cinestill 800T. Cinestill Cs41 kit. Scanned with NS 35mm set up.

Q: What are some of your favorite film stocks? Color or black and white, and why?

“I tend to shoot almost entirely CineStill film (go figure). I prefer color film because, to me, colors add a layer of story to an image - a bit of character and mood. That being said, there is something refreshingly straightforward, structural even, about black and white that I’m quite drawn to”

Silhouette by LA river. Cinestill 50D, shot at 200ISO and push processed. Cinestill Cs41 kit. Scanned with NS 35mm set up.

Plane over building DTLA. Cinestill 50D, shot at 200ISO and push processed. Cinestill Cs41 kit. Scanned with NS 35mm set up.
Rose. BWXX. Shot at 400ISO. Processed at home with DF96. Scanned with NS 35mm set up.

Q: Do you develop your own film?

“When I can, yes. I used to very intimidated by all of it, and used to think it was reserved for a very serious kind of photographer. But thankfully I’m surrounded by some great people who are patient and know a lot more than I do. And like everything, you get better with practice. I’ll also happily drop off film to the local lab sometimes too. But I definitely think that if you shoot film, you should really try to process some of your own work at some point. If anything, just to prove to yourself that you can do it. Because if I can do it, you totally can.”

Q: What Negative Supply tools do you use, and how have they changed your workflow?

“I’ve used the entire kit. All of the things. NS has been such a great addition to my workflow when it comes to ease of use, time saving, and space saving. I’ve found it difficult to have the energy, or find the time, to do anything creative for the past few months - so having the NS gear has been a big help. Also, while I love the Frontier, I can’t quite scan 2 rolls of 35mm in about 5 minutes flat and then pack it up in my backpack”

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Welcome to the first of many film review blog posts! We’ve committed ourselves to trying and sharing the results of many different film stocks, both old and new, that photographers around the world use everyday. Some you’ll be familiar with, and some might be new to you (and us)! We’re thrilled to share our results with the Negative Supply community!

Our first film we tested was BERGGER Pancro 400.

BERGGER Pancro 400 Tech Details
Pancro 400 is a two emulsion film , composed with silver bromide and silver iodide. They differ by the size of their grain. These properties allow a wide exposure latitude.  Crystals are precipitated by a double-jet process guided under the control of a computer. The two emulsions are panchromatic, and are stabilized by high tech systems. BERGGER Pancro400 in 135 is coated on a 135 microns acetate base and includes DX Coding. It is designed with an undercoated anti-halation layer which clarifies during processing, and a anti-curling layer. Bergger Pancro was first released in 2016, the film was introduced in large format size 4x5, 5x7, 8x10, during the same year at Photokina they announced that they would be releasing the film in 35mm and 120.

Formats available now?

Bergger Pancro 400 is offered worldwide in 35mm, 120, 4x5, 5x7, 8x10, 11x14, and 16x20 inch film! We’d like to tip our hats to the incredible team behind this film - offering such wide support for large format (and ultra large format photographers) in 2020 is nearly unheard of.

Leica M3 and 50mm Summicron DR, Pancro 400 rated at 320, scanned with Film Carrier MK1 © Brennan McKissick

Mamiya 7, Pancro 400 rated 400, scanned with Film Carrier 120 © Alan Escalante

Mamiya 7 with 80mm lens, Pancro 400 shot at 250 and developed at 400, scanned with Film Carrier 120 © AJ Holmes

Mamiya RZ67 II with 110mm lens, red 25a filter, Pancro 400 rated at 1000 and developed at 1600, scanned with Film Carrier 120 ©AJ Holmes

Canon AE-1 Program and Pentax 645, Pancro 400 rated at 400. Scanned with Film Carrier MK1 and Film Carrier 120 ©Chris Bartolucci

AJ’s thoughts on Pancro 400
“Pancro 400 is an astonishing film that lens based artists can use to effectively tell their story, regardless of the look or feeling the artist is attempting to obtain or elicit. Responding well to both pull and push processing, offering a wide tonal range, and boasting a unique medium level film grain, this is yet another wonderful option in the world of 400 speed panchromatic black and white films.”

Chris’ thoughts on Pancro 400:
"I’m not always a fan of grainy films right off the bat. However, I really enjoy Pancros larger grain structure. It gives is a very classic look and is a fun alternative to other black and white film stocks. I would shoot it again!”

Alan’s thoughts on Pancro
“Berger Pancro 400 is one of the most interesting black and white films I’ve ever used. I love the grain structure of the film. it’s much less fine than anything from kodak or Ilford. Before using it here at work I never considered shooting Pancro 400. Now I’m going to be shooting it a lot more often.”

Brennan’s thoughts on Pancro 400:
“I think Pancro 400 really sets itself apart from modern films from the bigger manufacturers because of the way it looks. Where Kodak and Ilford have moved towards films that are sharper with more contrast, less grain and more dynamic range, Bergger has created a film that’s got a way more classic look to it. It’s got lots of big grain, a slightly flatter profile and glowier highlights. It’s nice to have a black and white option that has a more classic look.”

Interested in purchasing Pancro 400 to try for yourself? Find an analog dealer near you today at this link: Find a Dealer

Interested in the tools used to scan the sample images for this blog post? Have a look!

 We’re very excited to feature photographer, podcaster and YouTuber, Billing Manning on this weeks spotlight! Bill does amazing things for the film photography community and has been an early and ofter supporter of Negative Supply. We are thrilled to be showcasing some of his amazing work and hear his thoughts on how the Film Carrier 120 has helped improved his workflow!

 Hi Bill! Introduce yourself to the Negative Supply community and give a brief biography!

“Hi there! I'm Bill Manning, and I am a photographer based in Atlanta, GA. I am also the creator of Studio C-41 and a cohost to the 1 Hour Photo Podcast with Jordana Dale and Steven Wallace. I have been a photographer for just over 10-years and the last five, including film in my workflow. While my workflow is primarily wedding and headshot photography, I've shifted my efforts into building Studio C-41 as a media-rich resource for analog photography.”

You can find us at studioc41.net! Subscribe to our YouTube Channel!

Image 1: Fujfilm Pro 400H – Mamiya AF-D II, 55mm f/2.8, scanned with the Film Carrier 120 ©Bill Manning
Image 2: Ilford SFX 200 – Mamiya 7, 50mm f/4.5, scanned with the Film Carrier 120 © Bill Manning

 Q: How did you first discover your passion for photography, and when did you start making photos with film?

“I got into photography when I decided I wanted to get a 'good' camera for my honeymoon trip through Europe. My wife purchased the Nikon D90 as a wedding gift. From that day on, I was hooked. I got into film photography in 2015 when I raided my dad's closet and found his old Minolta x700. My dad said if I can get it working, I can keep it. It turned out it just needed a fresh set of batteries!”

Fujifilm Pro 400H – Pentax 67, 55mm f/4, scanned with the Film Carrier 120 ©Bill Manning

Q: What do you enjoy most about shooting film?

“I enjoy the process of creating a photograph. We live in an age where we get instant feedback, and for me, I feel like it devalues the artistic process. For workflow purposes, digital makes sense, and I embrace it entirely. However, there is a sense of pride in crafting an image from visually seeing it in your mind to taking the shot, developing it, scanning it, and printing.”

Image 1:: CineStill Film 800T – Pentax 67, 105mm f/2.4, scanned with the Film Carrier 120 ©Bill Manning

Image 2: CineStill Film 800T – Pentax 67, 55mm f/4, scanned with the Film Carrier 120 @Bill Manning

Kodak Professional Portra 800 – Pentax 67, 105mm f/2, scanned with the Film Carrier 120 ©Bill Manning

 Q: What are some of your favorite film stocks? Color or black and white, and why?

My heart is with Portra 800. There is a natural look and feel that feels more organic than Portra 160 and 400. While those stocks are fantastic, Portra 800 offers a different look. Generally, it is my go-to film with my Pentax 67.

“I have been into the new EKTACHROME E100 with the CineStill Film D9 developer kit. Initially, I hated how slide film scanned. You could never really get what you see in the scan. For some reason, slide just never interpreted well in a digital format. However, using my camera scanning set up with the Film Carrier 120, I had to bracket three stops to take advantage of this film's insane dynamic range, and developer combo has to offer.”

“I enjoy shooting black and white, quite a bit. Tri-X 400 is a personal favorite. It offers a grain structure that provides a look that is just timeless.”

“I can't say I prefer color over black and white. I think it comes down to the decision, as an artist, of your photograph's final look.”

Kodak Professional Ektachrome E100 – Hasselblad 500 C/M, 50mm f/4, scanned with the Film Carrier 120 ©Bill Manning

Image 1: CineStill Film 800T – Mamiya 7, 150mm f/4.5,scanned with the Film Carrier 120 ©Bill Manning

Image 2:Fujifilm Velvia 100 – Mamiya 7, 50mm f/4.5, scanned with the Film Carrier 120 ©Bill Manning

Q: Do you develop yourself?

“I used to have it done at the lab. However, with new product offerings for simple developing, like the CineStill Film E6 and C-41 kits, I find myself developing more and more at home.”

CineStill Film 50D – Mamiya 7, 150mm f/4.5, scanned with the Film Carrier 120 ©Bill Manning

Q: Are you working on any longterm body of work or photographic series you'd like to discuss?  

“My ongoing project is not exactly a photographic project. Since starting Studio C-41 Podcast in 2017, I continue to put my efforts into growing the podcast into a media-rich resource for film photographers. With a new home base studio in Atlanta, I plan to build my YouTube and Podcast channels. Additionally, I intend to host live workshops to teach those interested in analog stills photography (and maybe motion picture!)”

Image 1 Kodak Professional Ektar 100 – Pentax 67, 105mm f/2.4, scanned with the Film Carrier 120 © Bill Manning
Image 2 Kodak Professional Portra 800 – Pentax 67, 105mm f/2.4, scanned with the Film Carrier 120 © Bill Manning

 Q: What Negative Supply tools do you use, and how have they changed your workflow?

“I currently use the Film Carrier Mk I and the Film Carrier 120 on the pro mount. When I purchased the 35mm carrier, I knew this was a total game-changer. When I had the privilege to beta test the prototype, I did not doubt I would include it in my lineup. I backed it because I knew this was going to be critical to my scanning workflow.”

Kodak Professional Ektachrome E100 – Hasselblad 500 C/M, 50mm f/4, scanned with the Film Carrier 120 ©Bill Manning

We would like to thank Bill for allowing us to feature his phenomenal work, and for using Negative Supply tools when scanning his images. His Ektachrome images were developed with Cinestill”s CS6 “Creative Slide” 3-Bath Kits for color-timing chrome, reversal and e-6 film.

If you’re interested in being featured on our blog, please send us an email via contact@negativesupply.co We can’t wait to see and share work from more of the Negative Supply community! Click the link below to learn more about the 120 Film Carrier Bill is using to digitize his work, and feel free to reach out with any questions you may have!

Warmly,
The Negative Supply Team

We made a long awaited update to our very own Negative Supply YouTube Channel! First up? A how-to guide for using our Film Carrier 120!

In this video, we will show you how to use the new Film Carrier 120 in a few simple steps! With this tool, you can scan an entire roll of 120 film in under a minute, either as cut strips or an uncut roll. Our newly designed magnetic hinge mechanism ensures film flatness while scanning, and assists in attaining the sharpest results from your scans. Our new masks allow you to reduce the amount of light that spills through the edges of your frame, and also works to further guarantee absolute film flatness.

Top-down view of the tools featured and used in our Film Carrier 120 video

Our host, Chris Bartolucci, on the set of this video

Top-down view of film loading and advancement with our Film Carrier 120

Detailed view of the magnetic hinge mechanism on our Film Carrier 120

Final full resolution scans shot AJ Holmes using a Mamiya 7, Kodak Portra 400, and Film Lab Desktop for conversion

We’ll be regularly creating and sharing new content on our YouTube channel on all things analog photography, thanks to the team of talented creatives at Negative Supply who are committed to making film photography accessible to photographers everywhere! Interested in watching our latest videos or subscribing to our channel? Click the button below to do so now!

AJ Holmes, co-founder and co-owner of Negative Supply, is an avid large format film enthusiast, having worked with 4x5 and 8x10 formats for several years. While his full-time pursuit is with Negative Supply, he finds time regularly to return home to Tennessee and photograph his family, and he also regularly works with large format film here in California.

Many of you have asked questions about shooting large format, developing and scanning these larger films, and so-on. As such, we wanted to take this opportunity to share a few of AJ’s responses to questions surrounding large format usage in 2020! Be sure to read AJ’s list of gear suggestions if you’re beginning with 4x5, and feel free to reach out if you have any questions regarding large format camera gear, developing your sheet film, or scanning! We’re happy to help.

What’s the benefit of shooting 4x5, especially as film prices are rising?

“While there are many technical benefits to working with 4x5 large format film, for me it’s all about process. I love the slow, methodical, intentional movements behind working with large format, figuratively and literally. Every decision is discriminant, and every part of the process requires your undivided attention. Typically I leave my phone and other devices behind or in the car when making these photographs, as I want nothing competing for my attention. As for the raising costs of film, that’s something I take into consideration when working, and perhaps is an even more important reason to shoot large format. If there’s an inherent cost to each frame, this demands your attention and focus even more fiercely.”

How long have you been shooing 4x5?

“While attending Middle Tennessee State University, a professor insisted I work with 4x5. As such, I’ve now been working with 4x5 film since the fall of 2015, and continue to do so now. I owe a huge thank-you to Tom Jimison and my other professors from MTSU, as without their influence I wouldn’t be working this way today. I’ve also incorporated 8x10 film as recently as September, 2019, and hope to share more about that process at a later date.”

What’s your favorite film stock?

“Most people who know me know I L O V E color film! This is the truth, and Kodak Portra 400 is at the top of the list. I regularly use this stock with 4x5 and 8x10 as the higher film speed comes in handy. This is very relevant when you consider bellows draw compensation, smaller shooting f stops to obtain optimal sharpness and image circle/coverage, and more. Simply put, if I can shoot a faster film on large format, I do. For black and white I most prefer Kodak 320TXP, but do use Ilford HP5+ and FP4 as well.”

What gear do you use for your 4x5 photos?

“I use a variety of tools when working with 4x5, but most importantly is my camera of choice: My Chamonix H-1 4x5. This is an absolutely fantastic camera with a wide range of movements, and I hope to share a review for that specific tool at a later date.  Below I’ve listed the majority of the 4x5 gear I use, and I typically try to use lenses that will also cover my 8x10 camera so I can share tools.”

• Chamonix H-1 4x5

• Schneider Symmar S 300mm f/5.6

• Rodenstock Sironar S 210mm f/5.6

• Nikkor 120mm f/8 SW

• Nikkor 75mm f/4.5 SW

• Toyo View 4x5 Cut Film Holders

• Toyo View 3.6x Focusing Loupe

• Gitzo Systematic 4 Tripod

• Ries Double Tilt Head

• Harrison Standard Film Changing Tent

• Wanderer Dark Cloth

• Negative Supply Pro Mount MK2 and 4x5 Film Holder

What’s some advice you’d give to someone starting out with large format?

“ Dive on in! It’s easy to get overwhelmed by all the dos and don’ts to large format, but ultimately all it takes is finding a camera and a lens, loading your favorite film in a light tight bag, and making your exposures. What gear do you need to start? Consider the following items for 4x5:

1. You’ll need a 4x5 camera. Consider Intrepid or Chamonix if you’re buying new, or go the used route for limitless options

2. Start with a standard or slightly wide standard lens, either a 135mm or 150mm. Stick with a modern multi coated lens if you intend to utilize color film. Rodenstock, Fuji, Nikon, and Schneider are all great contenders.

3. 4x5 film holders! I suggest Toyo View 4x5 Cut Film Holders, which can still be purchased new. Want a great price on these? Shoot us a message and I’ll put you in touch with a great resource.

4. A focusing cloth and loupe are essential. Check out Wanderer Dark Cloths out of Oregon for a fantastic and durable focusing cloth. As for loupes, I strongly recommend a used Toyo focusing loupe (around $80 USD)

5. Utilize a film changing bag or tent for loading and unloading your negatives. You can source a changing bag for as low as $20 USD.

6. Last but not least, grab a decent cable release (at least 1 foot long) and use a sturdy tripod. Now you’re ready to go!

The above list is a great starting point, and I’m always happy to answer additional questions as they come up!” -AJ

We would like to thank AJ for letting us feature his work and sharing his knowledge on shooting 4x5. Check out more of his work on his Instagram

AJ stays pretty busy with things here at Negative Supply, and as a result he sends his film to Mark Sperry at Northeast Photographic. Mark expertly develops and scans all formats of film from 35mm to 8x10 large format, and he scans with a range of tools. For 4x5 scanning Mark uses our Pro Mount MK2 and our 4x5 Film Holder. Thank you, Mark, for using Negative Supply tools, and thanks so much for running a truly top notch lab.

Check back for more features, interviews and more coming to our blog (and YouTube) coming soon, friends!